Introduction: “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
“A Globalectical Imagination” by Ngũgĩ wa Thiong’o first appeared in 2013 in the journal World Literature Today, volume 87, number 3 (May/June issue), on pages 40-42. This article holds significant weight in the fields of literature and literary theory. Ngũgĩ wa Thiong’o introduces the concept of a “globalectical imagination,” a critical lens that encourages readers to analyze global issues through a perspective that considers both dialectical tension and interconnectedness. He argues that this approach is crucial for understanding the complexities of globalization and its impact on diverse cultures. As a result, the article has been influential in shaping discussions about postcolonial literature, cultural studies, and global justice.
Summary of “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
1. The Role of Imagination in Human Society
- Ngũgĩ emphasizes the centrality of imagination in shaping human societies and envisioning both past and future possibilities: “Imagination is the most democratic attribute of the human… Imagination crosses boundaries, even those imposed by the present.”
- He describes imagination as a powerful force that transcends class, time, and space, which is often controlled or suppressed by states, especially imperial regimes, to maintain dominance.
2. The Intersection of Literature, Society, and Politics
- Ngũgĩ draws parallels between the cultural politics of colonialism and the Cold War, both of which used literature as a tool to influence society: “We were also caught up in the cultural politics of the Cold War.”
- He reflects on his early experiences with British colonial education, where Shakespeare was used to reinforce colonial values, while other radical texts like Marx’s Communist Manifesto were banned: “One could have been hanged for possessing Marx’s Communist Manifesto but hugged for possessing a copy of Shakespeare.”
3. Globalectics as a Framework for Reading
- Ngũgĩ advocates for a “globalectical” reading approach, which recognizes the interconnectedness of all human thought and action across time and space: “Globalectics assumes the interconnectedness of time and space in the area of human thought and action.”
- This approach allows readers to break free from the narrow imperialistic reading traditions that prioritize Western literatures and instead see all texts as centers of the world.
4. Challenging the Hierarchical View of Literatures
- A core argument of Ngũgĩ’s essay is the need to challenge the hierarchical relationship between literatures from different cultures, often a legacy of colonialism: “This also calls for a struggle against the view of literatures (languages and cultures) relating to each other in terms of a hierarchy of power.”
- He advocates for the promotion of multilingualism and the rejection of monoliterature, which he argues stifles creativity and understanding across cultures.
5. The Globalectical Imagination in Practice
- Ngũgĩ offers a personal reflection on how his own writing, especially his memoirs, are shaped by globalectical thinking, showing how local events in his village were part of larger global historical processes: “Some events in our rural village were direct echoes of the world… my early childhood was against the background of the Second World War.”
- He further illustrates how the globalectical imagination can bring new insights into postcolonial literature and other texts, helping to crack open their deeper meanings: “A globalectical imagination allows us to crack open a word, gesture, encounter, any text.”
6. The Interconnectedness of Time, Space, and Cultures
- Ngũgĩ draws on William Blake’s idea of seeing the world in a grain of sand to illustrate how texts and human experiences, though seemingly localized, are deeply interconnected globally: “It’s best articulated in the words of my all-time favorite poet, William Blake, when he talked about seeing the world in a grain of sand, eternity in an hour.”
7. A New Model for Organizing World Literature
- He proposes a new model for organizing and teaching world literature, where each center of the world is equally important: “A globalectical imagination assumes that any center is the center of the world. Each specific text can be read as a mirror of the world.”
- This contrasts with the imperial model that imposed a singular metropolitan center as the ultimate source of literary knowledge.
8. Literature and the Struggle for Cultural Freedom
- Ngũgĩ critiques how literature has historically been used by imperial powers to suppress cultural freedom, pointing out that a globalectical reading frees texts from such colonial and imperial prisons: “A globalectical reading of Shakespeare would have freed him from colonial and imperial prisons.”
9. Multilingualism as Cultural Freedom
- He also stresses the importance of multilingualism as part of cultural freedom, arguing that monolingualism restricts intellectual and cultural growth: “Monolingualism suffocates, and it is often extended to mean monoliterature and monoculturalism.”
Literary Terms/Concepts in “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
| Literary Term/Concept | Explanation | Quote/Reference from the Article |
| Globalectics | A critical approach that assumes the interconnectedness of time and space in human thought and action, encouraging readers to view each text as a mirror of the world. | “Globalectics assumes the interconnectedness of time and space in the area of human thought and action.” |
| Imagination | Seen as the central formative agency in human society, imagination allows individuals to envision different futures, challenge the present, and engage with art and literature. | “Imagination is the most democratic attribute of the human… Imagination crosses boundaries, even those imposed by the present.” |
| Postcolonial Literature | Refers to literature produced in response to the effects of colonization, often exploring the dynamics of power, culture, and resistance in formerly colonized nations. | “A globalectical reading of Shakespeare would have freed him from colonial and imperial prisons…” |
| Intertextuality | The shaping of a text’s meaning by other texts, where literature across time and space influences each other through translation and reinterpretation. | “The great tradition of literary intertextuality, including recasting one story from one cultural context into another…” |
| Monolingualism | The limitation of culture and literature to a single language, which Ngũgĩ critiques as suffocating and promoting a hierarchical view of literature and culture. | “Monolingualism suffocates, and it is often extended to mean monoliterature and monoculturalism.” |
| Cultural Imperialism | The imposition of one culture’s literature and values over others, as seen in colonial education systems that prioritized European literature over local cultures. | “Every imperial state has always put its own national literature at the center, conceived as the only center of the literary universe.” |
| Ethics of Reading | A proposed ethical framework for reading texts that acknowledges the interconnectedness of global histories and cultures, advocating for a more inclusive approach to world literature. | “A globalectical imagination assumes that any center is the center of the world… each text can be read as a mirror of the world.” |
| Colonial Education | The system of education in colonial societies that enforced the colonizer’s literature, language, and cultural values, often at the expense of local languages and narratives. | “Shakespeare, a writer most beloved by the colonial order, occupied a central place in colonial education.” |
| Multilingualism | Encouraged as a way to promote cultural diversity and creativity, opposing the restrictive effects of monolingual approaches that favor a single dominant language or literature. | “A globalectical imagination also calls for changes in attitudes to languages: monolingualism suffocates…” |
Contribution of “A Globalectical Imagination” by Ngũgĩ wa Thiong’o to Literary Theory/Theories
- Development of the Globalectical Approach
Ngũgĩ wa Thiong’o introduces “Globalectics” as a literary theory that emphasizes the interconnectedness of time and space in human thought and literature. It challenges the dominance of imperial literary traditions by proposing that every text, regardless of its origin, can serve as a center of the world.
“Globalectics assumes the interconnectedness of time and space in the area of human thought and action.” - Challenge to Colonial and Imperial Literary Hierarchies
Ngũgĩ critiques the imperial approach to literature, where colonial powers positioned their national literature as the center of literary value and knowledge. He advocates for dismantling this hierarchy and embracing a more egalitarian view of world literature.
“Every imperial state has always put its own national literature at the center, conceived as the only center of the literary universe.” - Promotion of Multilingualism and Cultural Diversity
Ngũgĩ calls for a shift from monolingual literary traditions to multilingualism, arguing that this opens up space for diverse cultural expressions. He sees monolingualism as a form of cultural suffocation that reinforces imperial hierarchies.
“A globalectical imagination also calls for changes in attitudes to languages: monolingualism suffocates.” - Revisiting and Reinterpreting Canonical Texts
Ngũgĩ demonstrates how canonical works, such as those of Shakespeare, can be reinterpreted through a globalectical lens. This approach frees such texts from the narrow interpretations imposed by colonial and imperial contexts, revealing their deeper connections to global struggles for power and justice.
“A globalectical reading of Shakespeare would have freed him from colonial and imperial prisons.” - Ethical Reading as a Central Practice
Ngũgĩ promotes an ethical reading of texts that moves beyond the traditional imperial framework. He urges readers to engage with texts by recognizing their potential to connect different historical, cultural, and geographical contexts.
“A globalectical imagination assumes that any center is the center of the world. Each specific text can be read as a mirror of the world.” - Literature as a Reflection of Global Struggles
Ngũgĩ positions literature as deeply intertwined with global historical and political movements. His work argues that literary theory should account for the ways literature reflects and responds to broader social and political struggles, especially in postcolonial contexts.
“The arts and the imagination are dialectically linked… the artist symbolizes and speaks to the power of imagination to intimate possibilities even within apparently impossible situations.” - Critique of Colonial Education
Ngũgĩ critiques the colonial education system, which prioritized European literature and marginalized local narratives. His theory advocates for educational reforms that embrace the multiplicity of global literatures and resist the imperial privileging of one tradition over others.
“Shakespeare, a writer most beloved by the colonial order, occupied a central place in colonial education.” - Intertextuality and the Fluidity of Cultural Exchange
By promoting intertextuality, Ngũgĩ emphasizes the fluid and dynamic nature of cultural exchange across histories and geographies. He sees the process of translation and adaptation of texts as central to the creation of a global literary network.
“The great tradition of literary intertextuality, including recasting one story from one cultural context into another place and time… is itself a form of translation.”
Examples of Critiques Through “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
| Literary Work | Critique Through Globalectical Imagination | Explanation/Reference |
| Shakespeare’s Macbeth | Class Struggle and Power Dynamics – A globalectical reading frees Macbeth from narrow interpretations, seeing the play as a reflection of global power struggles and the role of violence in political change. | “Macbeth’s bloody dagger could be explained away as the result of blind ambition, a fatal character flaw… A globalectical reading would have freed him from colonial prisons.” |
| Tolstoy’s Anna Karenina | Capitalist Expansion and Social Consequences – A globalectical critique connects the story of Anna Karenina to global movements like capitalist expansion and how the railroad system shaped economies and societies. | “A course organized on the basis of railroad and capitalist expansion can bring together Tolstoy’s Anna Karenina, my own A Grain of Wheat, and the western.” |
| Goethe’s Faust | Colonialism and the Pursuit of Power – Faust can be examined through its connections to the pursuit of knowledge and power, drawing parallels to colonial exploration and exploitation. | A globalectical reading would explore how the ambitions of Faust reflect the global quest for power and knowledge in colonial times. |
| Chinua Achebe’s Things Fall Apart | Resistance to Colonialism – Ngũgĩ’s globalectical lens highlights the interconnectedness of African resistance to colonialism with global anti-colonial struggles, positioning Okonkwo’s tragedy in a larger global context. | Things Fall Apart can be seen as part of a global narrative of colonialism, where local stories of resistance are connected to broader historical movements. |
Criticism Against “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
- Overemphasis on Interconnectedness: Critics may argue that Ngũgĩ’s focus on global interconnectedness through globalectics overlooks the importance of local and specific cultural contexts, which can be diluted when viewed only through a global lens. This could result in a loss of the unique characteristics that define individual cultures.
- Potential for Oversimplification of Complex Histories: By emphasizing broad global connections, critics may contend that the theory risks oversimplifying complex historical and political dynamics. The sweeping nature of globalectical readings may ignore the nuances and specificities of localized struggles.
- Challenges to Canonical Interpretation: Some traditional literary scholars might resist the reinterpretation of canonical works like Shakespeare through a globalectical lens, as it challenges established, Eurocentric interpretations. They may view this approach as revisionist, distorting the original meaning of these works.
- Idealism Over Practical Application: Critics could argue that while the globalectical imagination is theoretically compelling, it may be difficult to practically apply in literary education and criticism. The theory’s ambitious scope might not offer concrete methods for reading and organizing literature in diverse educational contexts.
- Neglect of Economic and Material Forces: Marxist critics may argue that Ngũgĩ’s globalectical theory does not sufficiently address the material economic forces that shape literature and culture. They might claim that it lacks a deeper engagement with class struggle and the economic realities underpinning global dynamics.
Suggested Readings: “A Globalectical Imagination” by Ngũgĩ wa Thiong’o
- Ngũgĩ wa Thiong’o. Globalectics: Theory and the Politics of Knowing. Columbia University Press, 2012.
- Stein, Mark. “The Globalectical Imagination in African Literatures.” Wasafiri, vol. 29, no. 4, 2014, pp. 26-32.
- Burness, Donald. “Ngũgĩ wa Thiong’o: Between Globalectics and African Socialism.” Journal of Third World Studies, vol. 31, no. 2, 2014, pp. 31-48.
- Ngũgĩ wa Thiong’o. “A Globalectical Imagination.” World Literature Today, vol. 87, no. 3, 2013, pp. 40–42. JSTOR, https://doi.org/10.7588/worllitetoda.87.3.0040. Accessed 15 Sept. 2024.
- Mukoma Wa Ngugi. “Breaking Out of the Prison House of Hierarchy.” World Literature Today, vol. 87, no. 3, 2013, pp. 36–39. JSTOR, https://doi.org/10.7588/worllitetoda.87.3.0036. Accessed 15 Sept. 2024.
Representative Quotations from “A Globalectical Imagination” by Ngũgĩ wa Thiong’o with Explanation
| Quotation | Explanation |
| 1. “Imagination is the most democratic attribute of the human.” | Ngũgĩ highlights the universality and egalitarian nature of imagination, arguing that it transcends class, status, and boundaries, making it accessible to all. |
| 2. “Globalectics assumes the interconnectedness of time and space in the area of human thought and action.” | This introduces the concept of globalectics, emphasizing the interconnected nature of human experience across cultures, geographies, and histories in literature. |
| 3. “A globalectical imagination assumes that any center is the center of the world.” | Ngũgĩ challenges the imperial view of the world, where only Western metropolises are seen as centers, asserting that any place can be a center in global literary studies. |
| 4. “Monolingualism suffocates, and it is often extended to mean monoliterature and monoculturalism.” | Ngũgĩ critiques monolingualism for limiting cultural and intellectual diversity, arguing that it promotes a hierarchy that suppresses other languages and literatures. |
| 5. “Every imperial state has always put its own national literature at the center.” | This points out how imperial powers have historically positioned their own literatures as dominant, marginalizing the cultural productions of colonized societies. |
| 6. “The artist symbolizes and speaks to the power of imagination to intimate possibilities even within apparently impossible situations.” | Ngũgĩ believes that artists, through their work, express the power of imagination to envision new possibilities in difficult circumstances, often leading to resistance. |
| 7. “A globalectical reading of Shakespeare would have freed him from colonial and imperial prisons.” | Ngũgĩ argues that reinterpreting Shakespeare through a globalectical lens would allow his works to be understood in a broader context, free from colonial constraints. |
| 8. “The translator is the modern traveler who brings in one language what he or she has gotten from another.” | This emphasizes the importance of translation in fostering cultural exchange, with the translator playing a key role in crossing boundaries between languages and cultures. |
| 9. “Culture contact and exchange were the oxygen of civilization.” | Quoting Césaire, Ngũgĩ underscores the idea that civilizations thrive on cultural interaction and exchange, rather than isolation or hierarchy. |
| 10. “Imagination crosses boundaries, even those imposed by the present.” | This quotation reinforces the idea that imagination is limitless and has the power to transcend temporal, cultural, and political barriers. |